What we store · Mixed Collections
A Whole Collection, Documented
Estates, private collections and the contents of a house being renovated. The material is mixed, and the problem is usually documentation rather than environment.
Come and see the environment before you send anything. Bring your registrar, your conservator or your insurer — we would rather they saw it than took our word for it.
Climate
Controlled temperature and relative humidity, continuously
Above
Above the floodplain — not a basement
Condition
Reported on intake and on every movement
Named
You know who handles your work
Nobody knows exactly what is there
A collection assembled over decades usually has no single current inventory. Items were bought, given, lent and moved, and the schedule the insurer holds is years out of date. When something needs to be found, valued, sold or divided, the absence of a record costs far more than the storage ever did.
Mixed collections also carry a valuation problem alongside the inventory problem. Different material needs different expertise to appraise, and a single generalist valuation across paintings, silver, furniture and books tends to be approximate in every category rather than accurate in any.
What documentation should exist
- A single inventory with a stable identifier per item.
- Photographs of every item as stored.
- Location within the facility, updated on every movement.
- Condition at intake, so later questions have an answer.
- A schedule in a form your insurer will actually accept.
Doing the inventory at intake
Everything is in one place, in your hands, being handled once. That is the only moment when cataloguing costs nothing beyond the time it takes, because the items are already being moved.
Deferring it means opening every box again later, which in practice means it never happens. Collections stay undocumented for another decade because the easy moment passed.
How we handle it
- 01Inventory on intake, item by item, with photographs.
- 02Assign and maintain stable identifiers.
- 03Track location and update it on every movement.
- 04Store each material group appropriately rather than uniformly.
- 05Provide records to you, your appraiser and your insurer on request.
Do the inventory at intake, when everything is in your hands at once. Doing it later means opening every box again, and in practice it means it never gets done — which is how collections end up undocumented for another decade.
Said plainly
Where we stop
We do not appraise or value. An inventory is a record of what exists; a valuation requires a qualified appraiser and we will not substitute our opinion for one.
Common questions
- Do you provide an inventory?
- Yes, at intake, item by item with photographs and stable identifiers.
- Do you value the collection?
- No. That requires a qualified appraiser. We record what exists.
- Can our insurer get the records?
- Yes, on your authority, in a form underwriters accept.
- What if the material is mixed?
- Each group is stored to what it needs. Uniform storage suits nothing well.
How it works
Intake & Condition Reporting
Intake is the most important day in a work's time with us, because everything afterwards is measured against what was recorded then.
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Access & Viewing
Stored work still needs to be seen — by you, your appraiser, a conservator, or a prospective buyer. Access is by appointment and it is handled rather than self-service.
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Insurance & Valuation
Your work is insured under your policy or a specialist fine art policy. Our role is to give your underwriter records they will accept.
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Exhibition Loans
A loan request is a good problem. It also involves paperwork, condition reporting at both ends, and a work leaving a controlled environment for months.
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Hurricane Procedure
This is South Florida. A storage facility that has not thought carefully about hurricanes is not a storage facility, and you should ask the questions before you need the answers.
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More what we store
Paintings
Stretched canvas and wooden panel respond to moisture in the air by moving. Stored well they are stable for decades; stored in a swinging environment they crack.
Read more →
Works on Paper
Drawings, prints, watercolours and documents. The damage is slow, cumulative and usually invisible until it is substantial.
Read more →
Photographs & Negatives
Photographic material is chemically active. Color dyes shift, acetate film decays, and both processes are driven by temperature and humidity.
Read more →
Tell us what needs to move.
What, from where, and roughly when. You do not need an inventory to start the conversation, and if the job belongs with an armored carrier we will say so on the call.
